It seems vital then that the two monikers be male and female, and begin with the letters A and B - like two sides of a record, or the genders, they are unique, but find unison in one another. A truism that extends to Arthur Beatrice's two distinct, dual vocals.

Founding members Orlando Leopard (vocals/instruments) and Elliot Barnes (drums) discovered early in their school-formed friendship, and musical partnership, that their opposing views would take them in interesting and often unpredictable directions. The pair were looking to introduce a new dynamic to their songwriting when they met and enlisted Ella Girardot (vocals/keys), after hearing her perform All Saints’ Pure Shores in the school talent contest. Brother Hamish Barnes (vocals/bass/guitar) joined a little later, quickly providing another point of creative tension when he began contributing songs that soon became as vital as anything before.

“When a person pulls one way, and another pulls in a completely different direction, it's possible to find something in the middle without compromising... something a lot more interesting,” is the way Orlando sees the process, and this core idea of creation from conflict is intrinsic to the band’s writing; each member bringing their own ideas to the rest to be shaped by their differing input. It's not a typical approach, with Elliot's words interpreted and made real in different voices, through Orlando and Ella, but it works, and while the drummer may write with individual intention, the actual words are deliberately open to interpretation by both singer and listener.

Ella refers to these lyrics as being "Ambiguous...", and they may seem as such, especially when twinned with seemingly unrelated titles. Each song name is in fact intended to encourage the listener to reconsider the words on realisation that the title words are always absent. “...It’s meant to be a ‘rupture’ of sorts - that thing that makes you realise that something isn’t quite right, and you have to look at the whole song again to work out why it has its name.”

Girardot’s vocals are unaffected by lyrics written largely by her male mates; while at times cold and disassociated, they are more often warm and always passionate, her voice leaning against Leopard’s reserved tones in a way that again forces the listener to ask questions of the songs’ motivations. While it's natural to assume a direct dialogue between the singers, it's quickly apparent this is not the sound of star-crossed lovers duetting. Instead, the occasional sharing of vocals only highlights further the different perspectives, aiming to push the pop-focussed songs into less familiar and comfortable territory. There are occasions and parts written from the male perspective and deliberately designed to be sung by Ella... Arthur Beatrice allows for different interpretations, throwing every songs presumed subject matter in to question.

A reluctance to release material before it's been worked, and then re-worked, to the point of obsession has led to little and infrequent output during their formative years, but it has granted the band a sense of calm awareness and careful consideration in everything they do: from a painstakingly pieced-together aesthetic through to the creation and curation of their own night, Open Assembly and further still, to self-releasing their only two previous singles 'Midland' and 'Charity' on Open Assembly off-shoot label, OAR.

For a band whose music is composed of such wildly differing elements, who’s writing comes from so many perspectives and musical influences, and in an age when so much is served up so soon, they've maintained a hold of the reigns and remain firmly in control. They don’t look to be loosening that grip any time soon.

Their bold and anthemic new tune was written out in Iceland when the band opted for a change of scenery and decided to join bassist Jonny Rob whilst he was out there on a modelling shoot. The track was then recorded at Jazzanova in Berlin (with producer Fish).

Si commented...”Fashion’ is our most ambitious song to date! We went into this recording process wanting to take more risks and push ourselves into new territories. It’s about being true to yourself no matter what, by following the things you are truly passionate about. It’s a positive message about finding your own place in it all, even if it means stepping into the unknown”.

Hailing from the North-East of England, working class lads, BOY JUMPS SHIP have gained a reputation for their energetic, passionate and exuberant live performances up and down the country and around Europe.

After some HUGE live dates with Don Broco the band are set to take the UK and Europe by storm this summer. Ending the year with a run of headline dates and their eagerly anticipated second album.

The duo met while pursuing music business degrees at Middle Tennessee State, a large public university just outside of Nashville. Prior to meeting up at a dorm party, the two were figuring out how to become their own local legends.

Huber was fronting a psychedelic folk-rock band, whereas Kelley was something of a mainstay in the Nashville hip-hop scene. Well, sort of. “I was making beats for this hip-hop duo and we got to open for GZA, but I didn’t know how to DJ my own stuff.” After meeting Huber, “I just asked ‘can you turn my beats into a live show?’” Soon thereafter, Kelley sent Huber his self-composed Man of the Hour EP and the two realized the potential in their partnership. Cherub began in earnest, with Huber’s live production embellishing Kelley’s clever songcraft.

Above all else, Cherub are men of the people, dudes of the dancefloor, aficionados of the after hours. From the countless house parties they’ve played in Tennessee to their Age of Reason tour with Gramatik to their prestigious Red Rocks Amphitheater gig with STS9, they’ve always made it a point to engage with their fans. “People always think it’s weird when we ask during the show if there’s an after party,” Kelley says with a laugh. Antipasto starts the party, what happens from there on out is anyone’s guess.

Coasts are currently in the studio with producer Eliot James (Two Door Cinema Club, Noah & The Whale) recording their debut album due for release this summer. Before then, the band are set to release a new single from the album at the end of March titled ‘A Rush of Blood’ supported by another UK and European tour for what will inevitably be their last until they tour the album this Autumn.

Produced by Charlie Hugall (Florence and The Machine, Ed Sheeran), Paul Savage (Mogwai, Franz Ferdinand) and Peter Miles (We Are The Ocean, Futures, The King Blues) and with arrangements and strings from Valgeir Sigurðsson (Sigur Rós, Björk), the resulting 10-track album is bold, expansive, confident and cohesive - an undeniable step up in both diversity and volume from their critically acclaimed debut, Shallow Bed (March 2012).

Dry the River have announced a UK headline tour in October. The dates follow a number of festival shows over the summer, including appearances at Glastonbury and the Main Stage at Reading and Leeds.

They ended their last run of UK dates with a euphoric sold-out show at London’s Shepherd’s Bush Empire in November 2012, a year which began with them appearing in the BBC ‘Sound of 2012’ poll. This tour will see them play their biggest headline show yet, at The Forum in Kentish Town, London.

2015 live dates featured a busy summer of festival appearances including Glastonbury, Latitude, Secret Garden Party, Lowlands, End of the Road and Bestival, a short tour of Europe supporting Mumford & Sons, plus his biggest UK headline tour to date in October.

Inspired by music as diverse as Tim Buckley, Neil Young, Radiohead, Justin Vernon and Father John Misty, Eaves has crafted a very unique style of song-writing and sonic landscapes that has got music lovers around the world very excited at what is about to come.

One of the most compelling British debuts in years – The Sunday Times

Strikingly fresh and moving – 4/5 Mojo

Echoes of Tim Buckley but he’s very much his own (young) man – 4/5 Metro

First single ‘Celeste’, is an infectious celebration of anticipation, combining an ear-worm acoustic riff with an army of floor toms, Beach Boys backing vocals, Miike Snow piano clusters, and a lilting, Shins-like vocal.

Vine’s love for ambiguous Cohen-style lyrics mashes with immediate imagery (Brian Wilson, anybody?) resulting in an energetic tune that aches for a love lost (or was it a love imagined? Either way, he won’t tell us.) and is sure as heck to get you dancing. In Vine’s own words, Celeste is ‘an exploration of optimism, confusion, and the often blurred lines between reality and desire.’

Recorded in a small bedroom in late 2012, armed only with one microphone, a macbook pro, and any instrument he could lay his hands on, Vine meticulously recorded each and every instrument, breathing life into a handful of tunes that would soon become unofficially dubbed the ‘Les Enfants EP’. The resulting work was a collision of immediate lyricism, haunting falsetto, and counter-melodies, woven through folk sensibilities.

Circulating it privately, Vine found immediate fans among MTV execs and indie tastemakers abroad. Testing the waters, Vine released a handful of tunes somewhat unannounced on Bandcamp in January of 2013, under the moniker ‘Les Enfants’ and word slowly began to spread. On Bandcamp, Vine found an appreciative and thoughtful audience that helped propel the collection to regularly claim a top ten spot among Bandcamp’s bestsellers for the Folk category. From among that audience came Nashville Indie label execs, who chased Vine for label deals, calling the music “a polished, amazing, critically and commercially deep record and sound”. Furthermore, Brooklyn, NYC-based webzine Dingus are quoted as saying the work is “Somehow floating above the showmanship of 2013 ...”, akin to “Of Monsters & Men with some dashes of Edward Sharp and Fun”, adding “There is something special about getting transported back to a specific musical memory in one’s own life.”



After signing a management deal with Let The People Speak, Vine was almost immediately featured on TVNZ as Channel ONE’s new brand identity, a title previously held by Brooke Fraser’s ‘Something in the Water’ and more recently, Avalanche City’s ‘Love Love Love’. After securing an NZonAir video grant, Vine commissioned animator Rob Wallace (From Parallel Teeth & Special Problems. Having created videos for Ladi6, David Dallas, and animations for Flying Lotus, Jonothan Boulet, The Naked and Famous) to create a video for Celeste that follows the story of a huntsman on a long and ambiguous journey, set among a majestic and wild landscape.


And it wasn’t when he and a girl were on the corner of Grand and Mercer in 
New York City as the sun was sliding down between the buildings and she 
told him something that would change their lives and months later they would 
be married—and then it wasn’t later that year when he wasn’t married to anyone. 
 


But by then Gambles was close. Except it wouldn’t be easy. It would
 take one more year of smoke, a year of telling everyone he’d made a 
record when he knew he wasn’t in any shape to make anything. And then he found himself a shack on a beach in Costa Rica with a girl he’d just met and a tropical storm hammering the windows and a guitar he probably couldn’t remember picking up, and he was lost in the song and the moment and suddenly she stopped him—and asked him to play that again. That—he says now—was the moment when Gambles was born.


“All my favorite music sends me somewhere new,” he says. “I wanted 
to make music like that. I didn’t know how but I knew I could know 
how. It was like a pat on the shoulder when I was doing so miserably all those 
years, when I’d fail… it’d be like, ‘Not right now. But you will.’”
 He came home from the tropics to New York City in the fall of 2012. While drinking with his best friend—who happened to make records in a
home studio called the Rare Book Room—he invited him downstairs where
he sat on the couch too drunk to think too much and took one single 
take to pour a song never written down on paper into a microphone.

That was “Trust,” the first song he would post on his tumblr and the same song that Pitchfork somehow found only a few weeks later and presented to the world. Maybe Pitchfork felt like he felt when he was sitting there, listening to his voice and his guitar and that year of confusion and loss spill out into the room: “What did I just do?”
 What he did was let go—or open up—or fall to pieces—or whatever
 happens when you stop trying to be someone and start breathing. When
 he booked another recording session at the Rare Book Room with proper
 rehearsal and prep and techniques, it failed terrifically. But he 
still had songs he needed to get out, so he tried again on the same
 couch at the same level of drunken fearlessness. And that’s what did 
it. Across the winter of 2012 and the spring of 2013, he sang through songs 
born only in the most unpredictable unguarded moments—lonesome 
late nights or long nowhere drives while touring with The Maccabees, or 
between sound checks when his erstwhile soundman had to scramble to 
record them before the inspiration disappeared.
 
In a song like “Animal,” he makes new promises to new discoveries:
“Follow me / between these words where we can be.” And in the 
songs that would become his debut EP Far From Your Arms and first 
full-length Trust—songs like “California” and “So I Cry Out,” sculpted
 through sudden recording sessions and break-of-dawn moments that
 happened the day before the album was supposed to be done—he’d take
 all the stories that made him into Gambles and bring them to wild 
honest life with nothing but his guitar, his voice and every memory he 
needed to keep. There is a darkness in these songs, just like the time that 
birthed them: “There’s no safe side,” he sings. “Wherever I stand, I damage.”
But in the same way, there’s light and a new beginning waiting. That 
long night in Costa Rica was when Gambles was born. And now with the 
release of his EP and LP on his own GMBLS imprint through Secretly 
Canadian, it’s become the day when Gambles wakes up. 



South London singer songwriter, Jake Isaac released his most recent EP ‘Where We Belong’ on Elton John’s Rocket Records last year, going straight into the Top 10 on the iTunes Singer Songwriter chart. That EP places Jake Isaac firmly alongside the likes of George Ezra and James Bay as an innovative and exciting new talent.

In March this year Jake sold out London’s Bush Hall and headlined shows around the UK and Europe. Jake has spent the summer touring throughout the UK and Europe and is now busy in the studio preparing his debut album due out April 2017 on Virgin Records.

Instead, rather its the atmospheres conjured and the unchartered territories explored within each little marvel of a track that comprise his unique vision. The space he creates is mind-bogglingly vast, and one where the brutalist greyscale of his native metropolis meets the warming slipstreams of his bucolic, often amphibious daydreams to alien effect. In his world near-choral incantations battle and marry with minimalist jazz tones, post-rock layering and swaggering beats and couplets in a way that's sometimes experimental, but always enveloping.

Born and raised in Croydon, Jamie discovered at an early age what a powerful form of escapism music could be for him. Joining a successful local choir aged-11, he not only discovered the incredible tone of his own singing voice (yes, those seraphim sounds on 'Softly Draining Seas', are him on backing vocals), but the immersive, transportive properties of truly grand musical composition. "There's something really powerful about performing a huge piece of music that's had so much time and thought put into creating it," he says. "It becomes something you can totally lose yourself within." It was these newly stoked fires that drove him to take his music seriously, earning a place at his local music school and honing in on piano as his primary instrument throughout his teens. It was here that he and his peers began first obsessing with the never-ending vortex of jazz, first with the greats, but before long with the avant-garde minimalism of composers like Philip Glass and Steve Reich, whose sense of space and adventure leave their mark across 'I Will Be Cold Soon'.

It was also there that he and his teenage friends, as many do, cultivated a love for the craft of hip hop. Certainly there's a street culture that runs throughout his sonics, from the foundations of Premier and Dilla, through to more evolved UK bass sounds like Mount Kimbie. Before long Jamie would become the one of the most accomplished beat-makers within his peer group, leading to a poignant collaborative relationship with classmate Archy Marshall aka King Krule. Fitting then that this debut will be released via House Anxiety, the same imprint that gave the world Marshall's owndebut in Zoo Kid's 'Out Getting Rib's'. When dealing with musical depth and tender years it's always easy to label this things prodigious, but what's harder to pin-point and more exciting to consider, is if this EP release represents Jamie Isaac's first chapter, then what could the rest of this story possibly resemble.

Recent single ‘Let Me Be The One’ is a hurtling locomotive of a track, replete with a soul-flavoured conductor; all 6ft 8” of him. Screw-face basslines aside, ‘Let Me Be The One’ sat in a league of it’s own with a distinctive honey-coated voice that ties LTMDTW’s sound together and wraps it with punchy, analogue-fuelled character.

By taking a live approach to making music, LTMDTW clash analogue and digital equipment with elements of house, techno, soul and disco to craft that elusive human edge often lacking in modern dance music.With recent track ‘Give It Up’ on it’s way to 100,000 spins on Annie Mac Presents Free Music Monday, scratch the surface and LTMDTW’s influences are evident - everyone from Kraftwerk to Maurice Fulton via Loefah and Boddika - Let The Machines Do The Work... and let the music do the talking.

Liu Bei (“Lou Bay”) explains frontman Richard, was born out of a desire to move away from years of solo acoustic songwriting and embark on something entirely new. In August 2013, on the brink of retiring from live music and concentrating fully on an already successful career writing music for TV shows and ads, Richard embarked on a collaborative project with a few friends which eventually led to the full formation of a band. After falling in love all over again with the likes of Slowdive, Ride and Mazzy Star, he felt an urge to create something epic and timeless.

The first song to come was Infatuation – a shimmering, reverb soaked lament charting “how dedication and unconditional love can so quickly turn into something dark and sharp toothed, an aggressive obsession.” You can hear the life cycle of the band within - it retains the reflective, introverted character of its early acoustic form, but builds those raw emotions into something more panoramic, a wash of delayed guitar and building drums reminiscent of the Cocteau Twins.

The accompanying video - a compact cinematic epic - was created by London- based filmmaker Jake Dypka, who upon hearing an early demo of the song knew he had to be involved: “Jake heard Infatuation and said it transported him to his adolescence – to that time and place where every teenage crush eats you alive. He wanted to shoot something that conveyed that – in the end we actually went to the town where he grew up, we even filmed in his childhood home.”

Infatuation was recorded and mixed by James Kenosha (Pulled Apart By Horses, Rhodes, Dancing Years) at The Lodge studio in East Yorkshire during the first days of 2014.

After the departure of co-founder and vocalist David Jakes earlier this year due to health reasons, Lonely The Brave stood together, supporting their friend but adamant that as one door was closing, they would very soon be opening a new one. They never stopped writing, never stopped creating, and instead started the search for a vocal talent that they could stand side by side with in their march toward album number three.

A short search led them to the door of Jack Bennett, and an instant connection was made as they traded stories, ideas and inspirations. He is noted for his strong and emotionally wrought vocal performances - qualities that have come to define the band’s live show - so it is with some excitement that their first live outing together is announced to take place at Omeara, London, on October 13th. Tickets will be available here - http://smarturl.it/LTB_Omeara - and go on general sale from 9am this Friday, August 17th. This will be a special headline show with no support act and an early 10pm curfew, so be sure to get down early to avoid disappointment.

The band had this to say about Jack’s arrival;

We don’t know where to start with everything that has happened over the last 12 Months or so, so first of all we all want to say thank you to every single one of you that has messaged us with your support during this period. Nothing worth doing is ever easy and your continued words of encouragement really have helped galvanise our belief that this band has so much more to give. It fills us with pride to say that this new chapter of our history will begin in earnest on the 13th October. The show is our way of thanking every single one of you for standing by us and understanding that this is a continuation; that the songs really are the most important part.

With their public-bar rise propelled by word-of-mouth whisperings, 7” releases and an energetic, swirling live show that seethes with energy, Money For Rope released their much-anticipated self-titled full-length recording in November 2012, taking their pulsing sound from dark stages to stereos right across the globe.

Featuring 9 tracks, their self-titled release includes the driving beats of their acclaimed track 'Easy Way Out' as well as the more contemplative feeling 'Misery Lane', the infectious 'Ten Times', a Mack truck-like 'Hang 'em High' and five more to quicken your pulse.

Playing a range of venues and festivals (Splendour, Cherry Rock, Golden Plains, Gumball), Money For Rope continue building on a reputation of balls-out performances that transform quiet crowds into rollicking masses show after show after show.

And with a sound that's equal parts style and sweat coupled with their masterclass in showmanship, you're guaranteed a Money For Rope experience that's bound to leave you breathless, with a post-'Rope afterglow destined to make you clamour for more - whether on stage or in stereo.

By day these boys are talking about the footy, going fishing and working their day jobs, but trade-out their pint glasses for instruments and you've got a recipe for chaotic, ambling musical mayhem tied together by harmonies and driven by the spirit of rock.

Death Dreams is a record of great power: power themes, power chords, power everything. – Pop Matters

…the pair have accumulated enough momentum that they sound ready to bust out of Saulnier’s selfconscious mind and take the rest of the world on, one graceful guitar burst at a time. – AV Club

This is one of the best Canadian alt-rock albums of 2012. - Postmedia

At heart, Death Dreams is simply a titanic guitar record, one that draws equally on the proud history of guitar records past from both the indie and classic-rock disciplines. – Toronto Star

Death Dreams is one of this year’s best indie rock albums. - Prefix

…the perfect example of a "same but better" second outing giving fans more of what they love while presenting something new to consider for those who weren't sucked in the first time around. – Exclaim!

Yes, Sonic Youth, My Bloody Valentine and Dinosaur Jr loom large in Death Dreams, but so do Cheap Trick, which is exactly why PS I Love You are far more sincere than the average hipster rock band. -NOW

…it might just be the best Canadian album to come out in 2012. – FFWD

a triumph that proves PS I Love You’s expansive talents know no bounds. – The Grid

Death Dreams almost faultlessly conveys the volatility and incomprehensibility of their particular genius. – No Rip Cord

Pancakes...cheeseburgers...tickle. - Pitchfork

Remaining in the same house where she grew up with her parents and older brother has not just kept her grounded, it’s hugely contributed to the development of her voice and style. Her earliest memories of music include having her mind blown by her brother playing her Coldplay’s ‘Parachutes’ through his Minidisc player, or watching Kate Bush’s video to ‘Cloudbusting’ with her dad. She takes the name ‘Rae’ from her grandfather, Raymond – a carpenter and local musician. Although she never met Raymond (he died when her father was a young man), he’s come to exert a large influence upon her and the family. Music is important to all of them – she and her brother have always taken piano lessons together from the age of four, her dad’s been trying to learn saxophone for 30 years, while her uncle plays in local covers bands, and at family get-togethers the Morris’s enjoy bringing the guitars out and having a sing-along to Steely Dan or ‘Hey Jude’.

For Rae, playing was always a communal, good-time experience. She didn’t actually get into music herself until she was around 15- years-old. Her palette was remarkably unaffected by anything besides her home life. While she was good at both sport and music at school she was lacking a clear direction for her future, and decided in the interim to take an art and music course at a college in Preston. Her solo musical endeavours came to her by chance when Rae was 17 and watching a particular episode of Jools Holland, featuring Blackpool musician Karima Francis. “I was like,

Woah that girl’s from Blackpool. That’s insane. I didn’t even know that was possible,” she recalls.

Embarking on a new, exciting career in music led Rae to like-minded individuals, like Charlie Fink from Noah & The Whale, Ben Garrett (aka Fryars) who produced her first two EPs, Lucy Rose who has become a close friend. Rae also co-wrote and features on the forthcoming Clean Bandit track ‘Up Again’. Another close friend and sounding board is Jack Steadman of Bombay Bicycle Club, who invited her to record some backing vocals on his band’s material after they’d had a few beers in his studio space on Edgware Road. Rae supports Bombay Bicycle Club on their forthcoming spring 2014 UK tour and features on 3 tracks from their No1 album ‘So Long See You Tomorrow’. It’s a nurturing environment for her and has helped to build her stage persona. Of course, nothing revealed to Rae more that there was life outside Blackpool than her introduction to multi-talented, LA-based producer Ariel Rechtshaid (Vampire Weekend, Haim, Diplo). With Ariel, she recorded a collection of sophisticated, piano-driven soundscapes and ballads that comprise her much-anticipated debut. Three months of LA sunshine and crashing at Ariel’s place in Silverlake generated the sort of environment where she could finally locate her truth without any external influence, taking her a million miles from everything she thought she knew. And she’s immensely proud of the results, positive that she’s made the album she really wanted to make.

Not that this newfound confidence has made her anywhere near aware of how good she is. That humbleness is Rae’s ace card. “I should be way better than I am,” she says. “I should be far more accomplished by this stage!” From where we’re standing, Rae Morris is streets ahead of the competition.

Raglans New EP Again and Again released on Fierce Panda Records was Recorded in Los Angeles with Jason Wade and Chris Murguia (Lifehouse) and mixed by Chris Sheldon (Foo Fighters, Biffy Clyro).

‘Who Knows’ and the other four tracks on ‘Again & Again’ present an ever-more expansive Raglans roar, retaining the ferocious fist-in-the-air glory of their self-titled top 5 debut album while adding pathos-laden power balladry with ‘War Torn’ and ‘Claire’.

It’s an emotional, energetic sound which reflects the life of a band who have been travelling the world, getting up and getting down - like their distant touring brethren Catfish & The Bottlemen and The Sherlocks Raglans are rugged road troopers, touring like there’s no tomorrow. Or at least no tomorrow without another service station pasty, another empty, echoing soundcheck and another sweetly sweat-soaked show to pile on through…

“All the songs on ‘Again & Again’ were written in the last two years so they are all informed by what’s been going on in my life and in the life of the band,” explains singer Stephen. “‘Who Knows’ is the perfect example of this: the lyric is about juggling two important relationships, one with a person and one with a group of fellas you travel around the world with in a van, and the uncertainly that comes with each and the pressure they put on each other. Then, being in Paris on tour and visiting the grave of Oscar Wilde gave me the perspective I needed to finish the song. The verses were the question, the chorus became the answer.”

The past? Well now let us tell you about the past. Two years ago they released their debut album, the succinctly-titled ‘Raglans’, which spawned the tracks ‘Natives’, ‘Before Tonight’ and ‘White Lightning’. Those tracks garnered radio support from Huw Stephens, Dermot O’Leary, Phil Taggart and Alice Levine, earned live supports with Haim, The Fray, The Strypes and Twin Atlantic as well as The Libertines in Hyde Park and generally saw the quartet having more fun than a meerkat on a mountain bike.

Back in the summer of 2012, Danish polymath Tomas Barfod released his debut solo album, the sophisticated mesh of electronics that is Salton Sea. Lauded by the likes of Pitchfork, Dazed & Confused and Gorilla vs Bear, its success took Barfod slightly by surprise. Inspired by a move to LA and mainly written and recorded on the road, often in hotel rooms on his laptop, it was an album that was imbued with a sense of spontaneity and experimentation. Its success has paved the way for the forthcoming follow-up, Love Me, an album that continues this spirit of adventurousness but takes it to a whole new level.

His skills as a dj has taken him around the world, where he has played legendary venues like Fabric (London), Panorama Bar (Berlin), Bar 25 (Berlin), Goa (Rome), Social Club (Paris), Echoplex (LA). Latest addition is his live show featuring a 3-piece live band including Nina K.

The last couple of years Tomas has been sharing his time between Los Angeles and Copenhagen. In LA he works as a producer and have cuts on several international albums.

‘The Narrator’ is written entirely around personal life stories sent into the band by their fans. These stories cover a wide spectrum of experiences and emotions, through the joy of fatherhood ( Stabilisers (I Will Be)) to the pain of losing a parent (Nobody Else Like You ¬- featuring a guest vocal from legendary British singer/songwriter Francis Dunnery ) via the emotive 2-part tribute to 2 fans’ experiences of the fight against cancer (Pink Ribbon and Lives of Your Lovers).

‘The Narrator’ was self-released on November 4th 2013 with no management, financial backing or guidance from a record label, it reached 38 in the itunes rock chart on it's first day. The debut album has received top rated reviews across the board after getting an exclusive on the Rock Sound website. The first single "Take" which was sold as an E.P "3 Years In Limbo" reached 21 in the same chart a couple of months previous to the release. From this it then got playlisted by Planet Rock Radio. The next single "Stabilisers (I Will Be)" had it's video exclusive with Classic Rock and found it's way onto the playlist of BBC Radio Wales as well as receiving airplay from Planet Rock Radio, Kerrang Radio, XFM, Nation Radio and UCB. The forthcoming single “Molly Drove Me Away” has already had BBC Radio 1 airplay by Huw Stephens before the release and it’s upcoming music video "The Narrator" was produced (in separate sessions) by Gil Norton (Foo Fighters/Jimmy Eat World/Counting Crows), Peter Miles (We Are The Ocean/The King Blues/Canterbury) and Todd Campbell (Straight Lines/ Exit International) .

After wowing fans in 2012 on a UK tour with Charlie Simpson (their first under the new moniker ), an Autumn UK run with Jim Lockey and The Solemn Sun and festival appearances at Latitude, 2000 Trees and Merthyr Rocks , The band look to the end of 2013 and the new year as their time to get back on the road and show the world the unique thought provoking concept that is "The Narrator". The band already has tours lined up in February with Motorhead & go off on tour again in March with Straight Lines. This demonstrates the diversity of the music that The People The Poet create.

Bristling with energy and oozing optimism, Great Divide is a rock record with widescreen ambition, inspired by the band watching their own fans and from sharing stages with the likes of Springsteen and Foo Fighters.

“Our aim was always to make songs this size,” says Twin Atlantic singer Sam McTrusty. “Coming from a punk rock background, it took a while - we like to say we went the scenic route. But it was the right route for us, full of interesting stops on which we learnt a lot – about ourselves, about each other, about how to make music that connects with fans which is always honest, never forced.”

Almost three years and over 300 gigs since the release of their silver-selling, debut album, Free, catapulted them from clubs to sold-out shows at Shepherds Bush Empire to the main stage at Reading and Leeds and this summer, Glastonbury, Twin Atlantic have made a mainstream record that marries their incredible energy live with a more mature approach to songwriting that acknowledges their long-held love of pop. Great Divide may be driven by guitars and drums, but it is also steeped in piano and strings, built on soaring melodies and littered with lyrics, sung in McTrusty’s strong Scottish accent, that express grown-up emotions as chantalong slogans.

“We’ve been through our punk rock rebellion phase and come out the other side,” laughs McTrusty. “We’ve all grown up being in this band. Dare I say it, we’re finally fully-formed adults. Since Free, some of us have got married and bought our own places and I’ve spent time in Canada because my girlfriend lives there. When the four of us got back together to work on this album, there was no bullshit. With our own lives sorted, it was easier to see the point of the songs and how we wanted them to sound. And, definitely, part of that was embracing pop.”

Pop hooks and harmonies abound on songs such as Hold On, an ode to self-belief driven by drums it’s difficult not to dance to. ‘It’s a risk worth taking/To

have a life worth living’ sings McTrusty on a huge, hooky chorus that’s a surefire summer singalong. The stunning Brothers And Sisters, set to shimmering guitars, bulked up by multi layered vocals and boasting a soft-loud dynamic is a collective call-to-arms dedicated to those who refuse to give up on their dreams.

Flamboyant first single Heart and Soul is a dirty rock stomper that sums up the shared feelings of a bouncing festival crowd, nods to both classic Bon Jovi and Queen and has already moved George Ergatoudis, Radio 1’s head of music, to tweet ‘Hyperbole alert. No joke - STUNNING does not do them justice.’ The single went in at number 17, a phenomenal achievement for a rock band in this day and age.

Twin Atlantic formed in 2007 when McTrusty and bassist Ross McNae, a friend from school, joined forces with drummer Craig Kneale and lead guitarist and occasional cello player Barry McKenna. All four had been in previous bands on the Glasgow scene. They bonded over a shared love of alternative rock, punk-pop and the city’s skate and street art scene, as well as a determination to make music their day jobs. Their ferocious shows soon saw them booked to support Smashing Pumpkins, Biffy Clyro and their teen idols Blink 182. Within two years, they had played most major UK festivals and been signed, following a tip-off from Alan McGee, to American label Red Bull Records.

“Our A&R person saw us at this strange snowboarding Channel 4 gig at Battersea Power Station,” recalls Kneale. “We pure went for it at that show, not because we knew anyone was watching, but because we were fucking freezing. We were surrounded by fake snow, our hands so cold we couldn’t hold our guitars. Either we went for it or we froze. Our A&R said it was the craziest gig he’d ever witnessed.”

A mini album, Vivarium, released in 2009, found Twin Atlantic fans in Kerrang!, saw them tour Europe and the States, play festivals including Download and Sonisphere and support My Chemical Romance. Free, their debut proper, followed two years later, boasting three singles playlisted by Radio 1, including the title track, which soundtracked Felix Baumgartner’s historic space jump in 2012.

“We were told Felix himself chose it,” says Kneale, “because he liked the lyric ‘Set my body on fire so I can be free’.” I guess he knew something could go horribly wrong. Thank God it didn’t! It wouldn’t have been a good epitaph for us.”

Most of Great Divide was written last year, while Twin Atlantic were still touring Free. “90% of it was written in the back of the tour bus, or a sweltering van in America,” says McTrusty. “Our adrenaline was through the roof because, for the first time, thousands of people had come to see us. I’d be in the lounge, unable to sleep, recording ideas on my phone, trying to make sense of the reaction we’d had to our songs. You can’t hear 10,000 people singing a chorus back at you and not be changed by it.

“I’d sit there thinking ‘I wish I’d had this type of song’ or been able to make people feel a certain way. I tried to write for people who don’t dance, and

didn’t intend to, but couldn’t help it cos the energy of the song meant they couldn’t stand still.

“I was definitely inspired by playing with Bruce Springsteen, who we supported at Hard Rock Calling last year. Every song of his is an anthem, even if it’s weird and complicated. You can’t see Springsteen and not remember it the next time you write.”

The bulk of Great Divide was recorded in Rockfield in Wales with producer Gil Norton (Foo Fighters, Pixies), who also helmed Free. Additional songs were recorded in the States with Jacknife Lee (Snow Patrol, U2, R.E.M.). The Rockfield sessions lasted much longer than had been planned and almost broke the band.

“We were there, between festivals, for most of last summer,” recalls McTrusty. “Remember how good the weather was? We were ridiculously decadent, lying in the sun, bringing back loads of alcohol. We bought a big projector screen, played FIFA and watched nearly every James Bond film.

“At the start it was amazing. We were inspired by stories of the bands who had been there before us. We used the piano that’s on Bohemian Rhapsody. But by the end, when the album still wasn’t finished, the place started to feel too isolated. Silence to me is terrifying – I’m from inner city Glasgow, I’ve always lived on a main road.”

One of the results of the extended Rockfield sessions was the song Oceans, Twin Atlantic’s favourite on the album. “Oceans could only have been written somewhere like that,” says McTrusty. “It sounds like a cry from an unhinged, isolated person, which is what I became there.”

Hold On also took on new meaning, becoming a metaphor for a band at breaking point. “There were a lot of frayed ends and decisions to make,” says McTrusty. “Hold On was us telling ourselves to not give up, that we’d get there in the end. Did we ever think the end was nigh? I’m not sure, but we did hold on and we made it and that’s what matters.”

"The record, explains vocalist/guitarist Murray Macleod, "is about everything I've experienced in my life so far, basically this road that had taken me to this one person and everything that had beaten me up along the way. So the songs are basically about the past and how I've made some terrible mistakes, in romantic terms anyway, and learned a lot from them, which culminates in the last song on the record, 'There Is Only You'. That's about me getting to this point of finally being comfortable enough to be with one person for the rest of my life. But halfway through recording we took a break and the night I got home was the night she decided she didn't want to be with me anymore. We got back on Friday, and I went back to the studio on the Monday for the next three weeks to finish the album. So it's a weird twist to the tale of this record and I was completely lost in the second half of making the record."

Even though its ten songs had been written by that point, it's nevertheless a record that straddles the gulf between love and loss, the joy of feeling whole and the ache of feeling empty, with pin-point accuracy. That complex contradiction is something the trio - completed by bassist Jordan Smith and drummer Thomas Heron - infused their first two records, 2009's 'In The Cold Wind We Smile' and hurt following year's 'Scatterbrain', with in abundance, but here it feels more poignant, more fragile, more urgent than ever before, both for the listener and, due to his personal circum-stances, Macleod himself.

"It's heightened the intensity of this idea of there being one person in my life who I love and want to be with. This isn't a break-up record but in a way it does sound like it. We wanted it to sound like a romantic rock record, even though it's a sad romance, the romance you can have with nostalgia. It sounds nostalgic even though it wasn't written about a situation that I should have been nostalgic about. I was writing about what was about to happen. It's an odd thing that has happened and I probably shouldn't look too much into it."

But there's much more to 'There Is Only You' than just that heartbroken twist. It's a record that marks the next step in the career of a band which originally started in 2001, when Macleod and Smith were just 13, and who, since Heron joined in 2006, have been been crafting a discerning discography designed to last much longer than they will. Combining the wistful nostalgia of that first record with the abrasive raw emotion of their second, 'There Is Only You' is an album of powerful, poignant intent. The band started writing it while still touring 'Scatterbrain', but it was soon after that that the idea for the record started to form.

"At the very end of touring Scatterbrain," explains Macleod, "I had to take three months out be-cause I perforated my eardrum. I was deaf with incredibly loud tinnitus for about two and a half months. It was terrifying. But in that time I started studying classic rock records, or what's deemed as classic. So I was looking at 'Damn The Torpedoes' by Tom Petty, 'Born To Run', and 'Tim' by The Replacements, and it just so happened that all those were their third records, which tied in with us feeling like we needed to make this life-changing record for ourselves. To me, the Tom Pet-ty influence is pretty obvious on a few of the tracks, in terms of songwriting. He says so much by saying so little, and I wanted to try to do that, and really showcase our songwriting talents more than anything else. We love pop music, so we all really wanted to make this big pop record that actually put heart and emotion back into pop music because we think it's lacking severely."

They certainly succeeded. From the tentative, fragile instrumental intro that prefaces the dramatic, urgent surge of first song proper 'Live Like This' - a track confronting Macleod's then-recent experi-ences with anxiety - through to the now-tormented finale of the title track, 'There Is Only You' - rec-orded with Dave Eringa and Paul Steel - is an album that's earnest and accomplished, young and old, enthusiastic and tired, jaded and sad but also full of the love and happiness that was flowing through Macleod's blood when he first wrote the songs. 'I Don't Care' soars with defiant optimism in the face of impending tragedy, 'Shaking In The Water' is a semi-discordant pop song that fizzes and fuzzes with desperate pleas for some kind of salvation, 'Pop Song' spits and snarls in a battle between what was and what no longer is, while 'Teenage Lust' revisits the scenes that formed the basis of 'In The Cold Wind We Smile', albeit with extra hindsight and, as a result, an extra kick to the music. 'Kids On Drugs' is a similarly imposing tune, yet, as with all these songs, its heavy bursts of noise and catharsis are tempered by a chorus as catchy as the band have ever written. And then there's the unintentional lament of that final title track, a tragic, slow-burning, piano-laced elegy which ruptures into an overwhelming outpouring of physical and emotional anguish and joy, all existing simultaneously as Macleod repeatedly shouts out the title for the whole world to hear.

"That last song should have been triumphant," says Macleod. "It should have been 'The Breakfast Club' fist in the air. That's what it was meant to be, and now there's a real sadness to it for me. But because I think she's such a tremendous person, I'm happy enough to scream out 'There is only you', because I still believe it. If my lasting memory of her is me on a stage, singing that, I think that's a pretty beautiful way to remember someone."

While that song, and the album as a whole, was born out of an incredibly personal situation, it's reach extends far beyond its origins. In fact, it's a phrase taken from Ernest Hemingway, which Macleod then applied to his own art and life, given new life and meaning, which is exactly what he hopes people will do with this record when they hear it.

"The line 'There Is Only You' is from 'The Old Man and the Sea'," Macleod explains. "It really struck me in terms of what I was writing about and experiencing at the time, that feeling of worry at the idea I might actually be happy, content and in love. 'There Is Only You', to me, means this one in-dividual who I care for so greatly and is my world, and on the other hand 'There Is Only You' means there is only 'I'. I'm the only one that can rectify my mistakes and learn to love and to be loved. We want 'There Is Only You' to be universal, for others to find meaning in it. Whether it be about love, religion, parents, yourself, your pet, friends, 'There Is Only You' is about one thing or entity that you are able to put everything into, your love, trust, faith, belief, heart and soul. 'There Is Only You' is your everything." He laughs. "There might be something in that. Who knows!?"

Drawing from a well of influences that included ESG, Animal Collective and The Rapture, the band created their own sound - a 21st Century mixtape that defies categorisation or pigeonholing. Early singles like the vibrating punk funk monster 'Oh!' (released on 50 Bones Records) and the fuzzy, descending disco of 'Hear It In The Cans' (available on the sixth Kitsune Maison compilation) showed the trio's playful, disco side but there was always more to them than met the eye.

We Have Band signed to Paris based independent label Naïve (also home to M83) and in April 2010 released the trio’s debut album WHB, which was brilliantly eclectic, produced and mixed by Gareth Jones (Grizzly Bear, Depeche Mode, These New Puritans), and critically acclaimed across the world.

"We needed someone who didn't want to change what we were about and would let us keep the live element of our sound in", says Darren.

WHB was a huge success, and the band toured extensively throughout the world creating a large international fan-base.

For the second album there was no desire within the band to repeat WHB’s formula. Thomas had already started writing new material whilst on tour, the emotional and physical rollercoaster of playing around 130 shows a year, providing plenty of material for what would become their second album Ternion, released in January 2012.

The band joined ex Clor member and Foals producer Luke Smith at his Flesh and Bone Studio in London, where the banks of vintage analogue equipment breathed extra warmth into their songs. The result was a very different record, an intensely personal album that manages to be both uplifting and melancholic.

We Have Band’s third album MOVEMENTS is 11 songs conceived in their East London basement studio, produced by band member Tom Wegg-Prosser with additional glitter

added by Tim Goldsworthy (DFA Records, LCD Soundsystem, Unkle, Mo’ Wax).

It is music from the sweaty hearts of husband and wife Tom and Dede and band mate Darren Bancroft.

New single ‘Someone’ will be released on 17th March 2014 and was the first track from the album to be previewed, and with 65,000 soundcloud plays in two days and a Hype Machine Top 10, it is fair to say it is highly anticipated.

“The best bands bend. They adjust and they sway. They can drift towards or they can attack the sound that flows for them. But they always move.”

We Have Band toured their previous releases intensely, but now it's about taking it back to the dance floor - the place that inspired them to make music together in the first place.

There was a simple rule when writing songs for this album: if they didn't make the band move at first conception, then they didn't make the cut. The result is an A list of deadly, ruthless and energetic cuts - all refined, polished and turned to gold by the magical hands of producer/DJ/artist Tim Goldsworthy.

MOVEMENTS celebrates the sacred union of beat and lyric. When Darren sings on ‘You Only’, "Your movements stayed with me all day long, your mind was always on mine” it is the Moog line working with the vocal melody that stays with you. Dede’s assertion on ‘Burning On My Lips’ that, “Standing in the line, first to lose my mind, don’t tell me that it’s wrong, this is where I belong” is delivered with a conviction that the kick drum stamps out with every pulse. It is that repetitious, powerful mantra that makes MOVEMENTS a record impossible not to feel, impossible not to move to. The record that the band always set out to make.

It received The Line of Best Fits debut Album of the Yearr and Drowned in Sounds 'Neptune Album Prize 2014. The band are currently touring and writing their second album.

Since moving to London, Charlie has worked hard to establish himself as an exceptional live performer, regularly playing several times a week. He has supported Billy Ocean at various dates around the country and opened for Steve Harley at the O2 Academy. He played at the Boardmasters Festival headlined by Ben Howard and has provided the soundtrack to an advertising campaign about his hometown, Bournemouth.

Charlie has been writing songs since he was eleven. He really wants to connect with his listeners and will go to emotional places seldom visited by writers of any age. Stardom and celebrity are not motives for his work, he wants to build a life long career.

And he may just do that, one song at a time.

“Charlie Hole’s “Stones on a Sandy Beach” is a beautiful song”. - Rod Stewart

“I would have been proud to have written that at age fifty, let alone fifteen”.

- Andy Hill, three-time Ivor Novello award-winning-songwriter

“For a lad still in his youth, his talents are beyond him”. - Rock Regeneration

Lily produces for other artists, one of which charted on Billboard, fashion brands- incl an Original Score for LFW Joshua Kane's 'Fantasy Collection' at The London Palladium and film/ documentary.

Lily also had an international film & soundtrack album release for the movie 'Swoon' last year, Feb 14, which won the Guldbagge award for Best Original Score.

For 2020, a song of hers will be the musical opening for a new international Studio Canal TV series, "Shadowplay" (2020) and also Lily's cover of 'Mack The Knife' will be in Hong Kong film director- Wong Kar-wai's next movie.

Lily's next collaboration will be on Damien Chazelle's Netflix TV Series "The Eddy" (Wiplash, Lalaland..) where she should act her own role as a performer in Paris clubs, singing a song that she recently wrote with Glen Ballard and Randy Kerber.